Gül, Sol ve Çağdaşlık
Geçen Çarşamba “BirGün” de çıkan Ertuğrul Kürkçü söyleşini dikkatle okudum. Baskın Oran kampanyasının zayıflıklarını sayıp döktükten sonra, Baskın Oran’ın seçilememe faturasını kısmen de olsa eşcinsellere, daha doğrusu Baskın Oran kampanyasının eşcinsel konusuna verdiği öneme ve desteğe çıkarıyor: “…eşcinsellerin hakları ile emeğin hakları meselesinin aynı düzleme yerleştirildiği bir yerde, sol bir politikadan söz etmek imkânsızlaşır” mış! Allah Allah, neden acaba? Kürkçü yıllarca bu işin pratiğini yapmış benden duyabilir: Bu ikisi tam da aynı şeydir. Eşcinsel hakları aynı zamanda da emeğin hakları meselesidir. 2000 li yıllarda bunu anlamadan ve hazmetmeden de emekçilerin ve ezilenlerin ihtiyaç ve arzularına cevap verecek sol politikalar üretmek mümkün değil. Ben Türkiye’de böyle düşünen solcu kalmadı zannediyordum. Demek ki, sadece eski tüfeklerden bir ikisinde kötü bir alışkanlık olarak kaldığını zannettiğim homofobi hala sağ ve ayakta! AKP’nin seçimlerde ortalığı silip süpürmesine şaşmamak lazım. Bizim solcular hala Sovyetler döneminin kafasında! Türkiye işçi sınıfı ve onun kaderini paylaşan milyonlarca ezilen daha doğru dürüst, akılcı analiz ve kanaat hak ediyor.
Neyse gelelim Gül’e:
Din ve demokrasinin yegâne uyumlu yanı ikisinin de ilk harflerinin “d” olması. Her ikisi de pratikte iktidar olmanın yolu olduğu için çatışırlar. Dinler her zaman medeniyet, özgürlük, demokrasi gibi kavramların karşıtı olmuş ve olmaya devam etmekte. Sık sık demokrasinin beşiği olarak gösterilen İngiltere’de demokrasinin güçlü olmasının önemli nedenlerinden birisi kilisenin gücünün çok zayıf olması. Katolik Kilisesi 2000 yıllık tarihinde hep iktidar olmuş veya iktidarı uzaktan kumanda etmiş ve özgürlük ve demokrasi gibi kavramlar umurunda bile olmamış. Kökleri 5000 yıllık bir medeniyetler silsilesine dayanan Mısır’ın bugünkü acınacak halinde İslam’ın rolü büyük. ABD’nin başta Irak ve Afganistan’da olmak üzere yürüttüğü saldırgan ve haksız politikalarda başkanının kafasını dolduran dini dogmaların rolü yadsınabilinir mi? Sadece bu bağlamda bakıldığında bile Gül’ün Türkiye’nin cumhurbaşkanı olması, yani saklı bile olsa bir “milli görüşçünün” devletin başına geçmesi Türkiye’de demokrasi ve insan hakları adına en azından geriye atılmış bir adımdır. Bu kişinin “herkesi kucaklayacağım” sözü hiç inandırıcı değil. Denemesi bedava: Türkiye’de büyük ve gizli bir azınlık olan cinsel azınlıklar adına kendisinden Türkiye’nin en yüksek makamına geçer geçmez mümkün olan ilk fırsatta bir randevu rica ediyorum. Türkiye’nin değişik şehirlerden bir araya getireceğim lezbiyen, gey, biseksüel, trans ve HIV pozitif vatandaşlardan oluşan bir delegasyonla yapacağı buluşmaya sayın eşini de getirmesini istirham ediyoruz. Bu konuda, hele de Anayasa değişikliğinin gündeme geldiği bu günlerde, eşine ve kendisine anlatacağımız sorunlarımız ve önerilerimiz var. Hayrünisa Hanım’ın da buluşmamızda bulunmasını özellikle istirham ediyoruz çünkü biliyorsunuz demokrasilerde bu konumda ki hanımefendilerin cinsellik ayırımcılığına karşı mücadele verenlere destek olmaları adettir. Geçmişte İngiltere’de Prenses Margaret ve Diana’nın yaptıkları ve günümüzde Hillary Clinton ve Hilda Duhalde'nin (Arjantin Başkanı’nın eşi) - örnekler çok, oynadıkları roller gibi.
Bu randevu isteğimize pozitif bir karşılık bulacak mıyız? Yoksa Kürkçü ile Gül kucaklaşacak da, bizim translara yine polis coplarını mı kucaklamak kalacak?
Not: Sıkça kullandığım “Aydın Doğan’ın aydın dilleri” (ADAD) tanımlaması bir çoğunuzun hoşuna gitti. ADADı daha fazla yaz, ne olduğunu anlat diye dilekte bulunuyorsunuz. Biliyorsunuz Özkök haftalardır Gül’e yalvarıyor “Şövalye ol, Cumhurbaşkanlığına aday olma” diye. Özkök Türkiye’den şövalye çıkmadığını, bu topraklarda düello yapma değil pusu kurma kültürünün galebe çaldığını bilmeze mi? Tabii bilir ama işte onu öyle yalvar yakar yapan ADAD olmasıdır. Türk basınında aydın olmak, güç sahibi olmak, iktidar olmak; patronun isteklerini yerine getirmek, icabında yıllardır yoldaşlık yaptığın insanları işsiz bırakmak yani ADAD olmakla mümkün. Tabii ki iyi bir ADAD bunu zarafetle(!) yapmalı. Hançeri sırttan saplarken ben onu işten atıyorum ama bunun iktidarla ters düşme ile ilgisi yok; neden sadece yıllardır gazetemizin prensipleri ile ters düşüyor olmasıdır diyebilmeli. Sayın Aydın Doğan’ın sayın aydın dili başında olduğunuz gazeteniz yıllardır, homofobik, zenofobik, ırkçı, mizojin yazarlarla dolu. Onları ne zaman temizleyeceksiniz?
Kürşad Kahramanoğlu
Wednesday, August 22, 2007
Tuesday, August 21, 2007
an interview for Flash Art Italy/by Valentina Sansone
Can you tell me something about Data Recovery? Who are the artists involved?
Data Recovery is a curatorial attempt to form a different discursive field in flux, discussing contemporary art’s affinity with information and reality, deeply in collaboration with artistic strategies, after the period of relational aesthetics. Some call this period post-conceptual; i hesitate to use that term though i’m aware that my project is nourished from differerent possibilities of the conceptual today. I’m focusing on what we take for granted as information as the slide between reality and fiction. This performative slide becomes the internal motive for the participating artists to deal with what we call reality. turning into various strategies, unorthodox and undidactic, sometimes playful and slippery. At the end they make us question the way we perceive memory and history, think about the gaps left inbetween. The discursive field is created through the affinities among these strategies, similarities, differences and contrasts. That’s why I brought together very different artists, not very related with each other at the first sight: Julie Ault and Martin Beck, Michael Blum, Susanne Kriemann, Klub Zwei, Banu Cennetoglu and Goldin+Senneby. Following the evolution of conceptual framework, they have been enthusiastic about the project being in relation with the artists they didn’t show work together before. The works by Susanne Kriemann and Goldin+Senneby will be the new commissions for Data Recovery. I don’t want to reveal their processes now but it will be very exciting.
The curators chosen for the Lorenzo Bonaldi Prize where from New York, Seoul, London, Berlin etc. Could you notice a difference in their approach to the curatorial practice?
Actually, if the workshop hadn’t taken place, I wouldn’t have known about the curatorial approaches of the other contesting curators. Including the curators participating in the workshop: Of course the local contexts are important in the uniqueness of approaches, but I also realized that they are shaped by the specializing programmes the curators are educated in. For example, I myself finished Critical Studies in Malmoe Art Academy (which is a sort of Scandinavian version of Whitney) and it made a difference. There were people from Whitney, Bard, De Appel, Royal Academy’s curating programme in the workshop. Different educational programmes are creating different ecoles today. The role of education in contemporary art must be undertaken more critically, we must think of the models opening up alternative spaces for both curators and artists rather than following what is common.
You live and work in Wien. Do you think that there's a connection between your origins and the Mittel Europa culture in your projects?
I was living in Malmoe, Sweden before. I came to Vienna to work with Generali Foundation at the end of 2006. I don’t know where next, may be Brazil, may be Middle East. I love to be mobile in learning, thinking and observing. Different local contexts bring in different challenges and I think that is very vital for a young curator moulding his/her vision and practice. Before choosing my work places, I always consider the local bricks I can pick up to construct my vision. Vienna is not only an important center for German speaking art theory and production but also very close to the Eastern European cities where one finds a lot of things to think and discover.
The other thing is the question of Western modernity, seeing and questioning it there as a foreigner. My experience in Europe taught me a lot of things about the problems of democracy which is seen or thought as “the ideal” from far away. Turkey took the models of modernization from the West, the import of those models created a cultural schizophrenia which is the source of many things discussed about Turkey today as a place in between. As the cultural thinkers and producers of the country, these problematics are always there to deal with and to be nourished from. The experiences and observations I have earned are always somewhere in my projects, they enlarge my vision.
You worked with Aernout Mik during Dan Cameron's 8th Istanbul Biennial (2003) and you now collaborate with Hou Hanru for the upcoming edition of this year's Biennial. What are you preparing for this occasion?
Working with Aernout during 8th Istanbul Biennial was my first professional experience within an international context. We became good friends, his advises are always very important for me. The interesting coincidence was Dan Cameron’s being in the jury for Premio Lorenzo Bonaldi Award.
For 10th International Istanbul Biennial, I’m collaborating with four young curators for Electronic Image DaZiBao project which we titled as “nightcomers”. Hou Hanru made a version of this project in Paris before. “nightcomers” departs from the idea of open platform of expression of DaZiBao, i.e. anonymous street newspapers put in public space criticizing the government and its deeds during Cultural Revolution in China. nightcomers will be a mobile project showing video selections according to the conceptual framework we prepared and thus marking different places in Istanbul during Biennial expanding the Biennial into the city. Thinking of our starting point, we made an open call to everyone interested in “nightcomers” no matter s/he is an artist or not and prepared a pool of 5 minute videos. We are also collaborating with BikVanderPol who made a detailed research in the city and put out a map of available spots for screenings in public space. We chose 25 of them following our own intuitions of Istanbul; various surfaces and various neighbourhoods. Now each curator is processing his/her video selection and these selections will be screened alternately from a travelling van at the spots prepared by BikvanderPol. “Self-organized justice” will be the gist of my selection; referring to the dilemnas of inclusions/exclusions on the world today and questioning autonomous spaces we search for.
You are working on EGOCITI, due to take place in Vienna in 2008. Can you tell me something about this event?
EGOCITI will be a continuation of EXOCITI in Istanbul. EXOCITI was a public space project basing itself on sticker/poster/graffiti. The project’s main orientation was
questioning stereotypes of thinkings about Istanbul, which is a city between east and west. Artists coming from east and west; Stockholm, Helsinki, Copenhagen, Jakarta, Istanbul, Graz, Milano and Tehran produced pieces subverting the exotic identity reflected by west. We collectively marked certain areas of the city with stickers, posters, stencils and graffitis produced for this occasion. It was an illegal project developed as work in progress. EXOCITI was supported by talks given by the artists and followed over the daily updated project blog. Now with EGOCITI, we are turning to one of the cities that has been creating that exotic identity alongside discrimination, racism and xenophobia, which can all be traced back to colonialism. Viennese people generally hate to accept that but Vienna is stuck between east and west, it is the closest west for east. And the cityspace is experiencing a friction between its ghosts (aristocracy, fascism) and its actuality (large immigrant neighbourhoods, developing subcultures). There will be changing names in the crew of artists, but the main orientation and strategies will stay the same. Because of the historical and cultural connections between the two cities, Vienna will be a very interesting follow up for this project. I’m thinking of producing a publication comparing these two different experiences afterwards.
Data Recovery is a curatorial attempt to form a different discursive field in flux, discussing contemporary art’s affinity with information and reality, deeply in collaboration with artistic strategies, after the period of relational aesthetics. Some call this period post-conceptual; i hesitate to use that term though i’m aware that my project is nourished from differerent possibilities of the conceptual today. I’m focusing on what we take for granted as information as the slide between reality and fiction. This performative slide becomes the internal motive for the participating artists to deal with what we call reality. turning into various strategies, unorthodox and undidactic, sometimes playful and slippery. At the end they make us question the way we perceive memory and history, think about the gaps left inbetween. The discursive field is created through the affinities among these strategies, similarities, differences and contrasts. That’s why I brought together very different artists, not very related with each other at the first sight: Julie Ault and Martin Beck, Michael Blum, Susanne Kriemann, Klub Zwei, Banu Cennetoglu and Goldin+Senneby. Following the evolution of conceptual framework, they have been enthusiastic about the project being in relation with the artists they didn’t show work together before. The works by Susanne Kriemann and Goldin+Senneby will be the new commissions for Data Recovery. I don’t want to reveal their processes now but it will be very exciting.
The curators chosen for the Lorenzo Bonaldi Prize where from New York, Seoul, London, Berlin etc. Could you notice a difference in their approach to the curatorial practice?
Actually, if the workshop hadn’t taken place, I wouldn’t have known about the curatorial approaches of the other contesting curators. Including the curators participating in the workshop: Of course the local contexts are important in the uniqueness of approaches, but I also realized that they are shaped by the specializing programmes the curators are educated in. For example, I myself finished Critical Studies in Malmoe Art Academy (which is a sort of Scandinavian version of Whitney) and it made a difference. There were people from Whitney, Bard, De Appel, Royal Academy’s curating programme in the workshop. Different educational programmes are creating different ecoles today. The role of education in contemporary art must be undertaken more critically, we must think of the models opening up alternative spaces for both curators and artists rather than following what is common.
You live and work in Wien. Do you think that there's a connection between your origins and the Mittel Europa culture in your projects?
I was living in Malmoe, Sweden before. I came to Vienna to work with Generali Foundation at the end of 2006. I don’t know where next, may be Brazil, may be Middle East. I love to be mobile in learning, thinking and observing. Different local contexts bring in different challenges and I think that is very vital for a young curator moulding his/her vision and practice. Before choosing my work places, I always consider the local bricks I can pick up to construct my vision. Vienna is not only an important center for German speaking art theory and production but also very close to the Eastern European cities where one finds a lot of things to think and discover.
The other thing is the question of Western modernity, seeing and questioning it there as a foreigner. My experience in Europe taught me a lot of things about the problems of democracy which is seen or thought as “the ideal” from far away. Turkey took the models of modernization from the West, the import of those models created a cultural schizophrenia which is the source of many things discussed about Turkey today as a place in between. As the cultural thinkers and producers of the country, these problematics are always there to deal with and to be nourished from. The experiences and observations I have earned are always somewhere in my projects, they enlarge my vision.
You worked with Aernout Mik during Dan Cameron's 8th Istanbul Biennial (2003) and you now collaborate with Hou Hanru for the upcoming edition of this year's Biennial. What are you preparing for this occasion?
Working with Aernout during 8th Istanbul Biennial was my first professional experience within an international context. We became good friends, his advises are always very important for me. The interesting coincidence was Dan Cameron’s being in the jury for Premio Lorenzo Bonaldi Award.
For 10th International Istanbul Biennial, I’m collaborating with four young curators for Electronic Image DaZiBao project which we titled as “nightcomers”. Hou Hanru made a version of this project in Paris before. “nightcomers” departs from the idea of open platform of expression of DaZiBao, i.e. anonymous street newspapers put in public space criticizing the government and its deeds during Cultural Revolution in China. nightcomers will be a mobile project showing video selections according to the conceptual framework we prepared and thus marking different places in Istanbul during Biennial expanding the Biennial into the city. Thinking of our starting point, we made an open call to everyone interested in “nightcomers” no matter s/he is an artist or not and prepared a pool of 5 minute videos. We are also collaborating with BikVanderPol who made a detailed research in the city and put out a map of available spots for screenings in public space. We chose 25 of them following our own intuitions of Istanbul; various surfaces and various neighbourhoods. Now each curator is processing his/her video selection and these selections will be screened alternately from a travelling van at the spots prepared by BikvanderPol. “Self-organized justice” will be the gist of my selection; referring to the dilemnas of inclusions/exclusions on the world today and questioning autonomous spaces we search for.
You are working on EGOCITI, due to take place in Vienna in 2008. Can you tell me something about this event?
EGOCITI will be a continuation of EXOCITI in Istanbul. EXOCITI was a public space project basing itself on sticker/poster/graffiti. The project’s main orientation was
questioning stereotypes of thinkings about Istanbul, which is a city between east and west. Artists coming from east and west; Stockholm, Helsinki, Copenhagen, Jakarta, Istanbul, Graz, Milano and Tehran produced pieces subverting the exotic identity reflected by west. We collectively marked certain areas of the city with stickers, posters, stencils and graffitis produced for this occasion. It was an illegal project developed as work in progress. EXOCITI was supported by talks given by the artists and followed over the daily updated project blog. Now with EGOCITI, we are turning to one of the cities that has been creating that exotic identity alongside discrimination, racism and xenophobia, which can all be traced back to colonialism. Viennese people generally hate to accept that but Vienna is stuck between east and west, it is the closest west for east. And the cityspace is experiencing a friction between its ghosts (aristocracy, fascism) and its actuality (large immigrant neighbourhoods, developing subcultures). There will be changing names in the crew of artists, but the main orientation and strategies will stay the same. Because of the historical and cultural connections between the two cities, Vienna will be a very interesting follow up for this project. I’m thinking of producing a publication comparing these two different experiences afterwards.
altyazi in new york/ a zeki demirkubuz book is coming
Film Society Screens Seven Films by Breakthrough Turkish Director
Mental Minefields: The Dark Tales of Zeki Demirkubuz, Sept. 19–24
NEW YORK, August 17, 2007—Turkish director Zeki Demirkubuz will be onstage throughout the Film Society of Lincoln Center’s new series devoted to his work, Mental Minefields: The Dark Tales of Zeki Demirkubuz, running Sept. 19–24 at the Walter Reade Theater. All seven of Demirkubuz’s fictional features will be screened in the series, including the New York premiere of his most recent film Destiny and all three films that make up the director’s acclaimed “Tales of Darkness” trilogy: Fate, The Confession, and The Waiting Room. On Saturday, Sept. 22, at 3:00 p.m., the Film Society will host a special panel discussion on Demirkubuz and the rise of Turkish cinema. The director will be in New York from Sept. 16 to Sept. 25.
“Together with Nuri Bilge Ceylan, Yesim Ustaoglu and a handful of others, Demirkubuz has been leading a revolution in Turkish cinema for the past decade,” says Richard Peña, program director at the Film Society. “This new cinema has offered us a far more complex, nuanced portrait of a society whose role as an arbiter of East-West cultural and political divisions grows each day.”
Demirkubuz was born in Isparta in 1964. Politically engaged at an early age—even spending a term in jail as a teenager—he graduated from Istanbul University’s Department of Communications and became an assistant to director Zeki Okten, who he has often credited as his mentor. Demirkubuz established a strong, personal style as a writer/director up front in his debut feature, Block-C (1994), a powerful exploration of a woman whose marriage is falling apart. His follow-up films, Innocence (1997) and The Third Page (1999), earned Demirkubuz his first notices among critics after screening at several international festivals.
A notably personal filmmaker, Demirkubuz has taken over nearly every major aspect of his productions, working at various times as the producer, actor, editor, cinematographer and set designer for his films. In 2002, he received the very rare distinction of having two films screened at the same Cannes Film Festival, Fate and The Confession, for which he also won a pair of FIPRESCI prizes at the 2002 Istanbul International Film Festival. He added The Waiting Room to that duo to create the “Tales of Darkness” trilogy, “each a completely separate film but also part of an overall portrait Demirkubuz offers of the concept of morality in the contemporary world,” says Peña.
Destiny is Demirkubuz’s newest film, a study in the parallel romantic obsessions of two characters––salesman Bekir for nightclub entertainer Ugur, Ugur for the disreputable Zagor. Demirkubuz won the 2006 Istanbul International Film Festival’s Best Turkish Director prize for the film. It will make its New York premiere in Mental Minefields, screening at the Walter Reade Theater on Friday, Sept. 21, at 6:15 p.m., with a second screening on Sunday, Sept. 23, at 8:15 p.m.
Additionally, a special panel discussion on director Zeki Demirkubuz and Turkish cinema will be held at the Walter Reade Theater on Saturday, Sept. 22, at 3:00 p.m. The discussion is free with the purchase of a ticket to any film in the Mental Minefields series.
Mental Minefields: The Dark Tales of Zeki Demirkubuz is co-presented by the Film Society of Lincoln Center, ArteEast and the Moon and Stars Project in collaboration with Altyazi.
The series has been made possible by generous grants from Turkish Cultural Foundation and the American Turkish Society. Additional support has been provided by Turkish Kitchen, FedEx Turkey, Ramerica International, Inc. and Turkish Culture and Tourism Office.
Single screening tickets for Mental Minefields: The Dark Tales of Zeki Demirkubuz are $11 for adults; $7 for Film Society members, ArteEast members, and students with a valid photo ID; and $7 for seniors at weekday screenings before 6 p.m. They are available at both the Walter Reade Theater box office and online at www.filmlinc.com.
The Film Society of Lincoln Center was founded in 1969 to celebrate American and international cinema, to recognize and support new directors, and to enhance the awareness, accessibility and understanding of film. Advancing this mandate today, the Film Society hosts two distinguished festivals: the New York Film Festival, which annually premieres the best films from around the world and has introduced likes of François Truffaut, R.W. Fassbinder, Jean-Luc Godard, Pedro Almodóvar, Martin Scorsese, and Wong Kar-Wai to the United States, and New Directors/New Films, co-presented by the Museum of Modern Art, which focuses on emerging film talents. Since 1972 when the Film Society honored Charles Chaplin, the annual Gala Tribute celebrates an actor, filmmaker or industry leader who has helped distinguish cinema as an art form. Additionally, the Film Society presents a year-round calendar of programming at its Walter Reade Theater and offers insightful film writing to a worldwide audience through Film Comment magazine.
Please Note: Due to construction work taking place around Lincoln Center, access to the Walter Reade Theater is at 165 West 65th Street close to Amsterdam Avenue. Once there, take the escalator, elevator or stairs to the upper level.
MEDIA CONTACTS:
Jeanne R. Berney, (212) 875-5416, jberney@filmlinc.com
Ines Aslan, (212) 875-5625, iaslan@filmlinc.com
Mental Minefields: The Dark Tales of Zeki Demirkubuz, Sept. 19–24
NEW YORK, August 17, 2007—Turkish director Zeki Demirkubuz will be onstage throughout the Film Society of Lincoln Center’s new series devoted to his work, Mental Minefields: The Dark Tales of Zeki Demirkubuz, running Sept. 19–24 at the Walter Reade Theater. All seven of Demirkubuz’s fictional features will be screened in the series, including the New York premiere of his most recent film Destiny and all three films that make up the director’s acclaimed “Tales of Darkness” trilogy: Fate, The Confession, and The Waiting Room. On Saturday, Sept. 22, at 3:00 p.m., the Film Society will host a special panel discussion on Demirkubuz and the rise of Turkish cinema. The director will be in New York from Sept. 16 to Sept. 25.
“Together with Nuri Bilge Ceylan, Yesim Ustaoglu and a handful of others, Demirkubuz has been leading a revolution in Turkish cinema for the past decade,” says Richard Peña, program director at the Film Society. “This new cinema has offered us a far more complex, nuanced portrait of a society whose role as an arbiter of East-West cultural and political divisions grows each day.”
Demirkubuz was born in Isparta in 1964. Politically engaged at an early age—even spending a term in jail as a teenager—he graduated from Istanbul University’s Department of Communications and became an assistant to director Zeki Okten, who he has often credited as his mentor. Demirkubuz established a strong, personal style as a writer/director up front in his debut feature, Block-C (1994), a powerful exploration of a woman whose marriage is falling apart. His follow-up films, Innocence (1997) and The Third Page (1999), earned Demirkubuz his first notices among critics after screening at several international festivals.
A notably personal filmmaker, Demirkubuz has taken over nearly every major aspect of his productions, working at various times as the producer, actor, editor, cinematographer and set designer for his films. In 2002, he received the very rare distinction of having two films screened at the same Cannes Film Festival, Fate and The Confession, for which he also won a pair of FIPRESCI prizes at the 2002 Istanbul International Film Festival. He added The Waiting Room to that duo to create the “Tales of Darkness” trilogy, “each a completely separate film but also part of an overall portrait Demirkubuz offers of the concept of morality in the contemporary world,” says Peña.
Destiny is Demirkubuz’s newest film, a study in the parallel romantic obsessions of two characters––salesman Bekir for nightclub entertainer Ugur, Ugur for the disreputable Zagor. Demirkubuz won the 2006 Istanbul International Film Festival’s Best Turkish Director prize for the film. It will make its New York premiere in Mental Minefields, screening at the Walter Reade Theater on Friday, Sept. 21, at 6:15 p.m., with a second screening on Sunday, Sept. 23, at 8:15 p.m.
Additionally, a special panel discussion on director Zeki Demirkubuz and Turkish cinema will be held at the Walter Reade Theater on Saturday, Sept. 22, at 3:00 p.m. The discussion is free with the purchase of a ticket to any film in the Mental Minefields series.
Mental Minefields: The Dark Tales of Zeki Demirkubuz is co-presented by the Film Society of Lincoln Center, ArteEast and the Moon and Stars Project in collaboration with Altyazi.
The series has been made possible by generous grants from Turkish Cultural Foundation and the American Turkish Society. Additional support has been provided by Turkish Kitchen, FedEx Turkey, Ramerica International, Inc. and Turkish Culture and Tourism Office.
Single screening tickets for Mental Minefields: The Dark Tales of Zeki Demirkubuz are $11 for adults; $7 for Film Society members, ArteEast members, and students with a valid photo ID; and $7 for seniors at weekday screenings before 6 p.m. They are available at both the Walter Reade Theater box office and online at www.filmlinc.com.
The Film Society of Lincoln Center was founded in 1969 to celebrate American and international cinema, to recognize and support new directors, and to enhance the awareness, accessibility and understanding of film. Advancing this mandate today, the Film Society hosts two distinguished festivals: the New York Film Festival, which annually premieres the best films from around the world and has introduced likes of François Truffaut, R.W. Fassbinder, Jean-Luc Godard, Pedro Almodóvar, Martin Scorsese, and Wong Kar-Wai to the United States, and New Directors/New Films, co-presented by the Museum of Modern Art, which focuses on emerging film talents. Since 1972 when the Film Society honored Charles Chaplin, the annual Gala Tribute celebrates an actor, filmmaker or industry leader who has helped distinguish cinema as an art form. Additionally, the Film Society presents a year-round calendar of programming at its Walter Reade Theater and offers insightful film writing to a worldwide audience through Film Comment magazine.
Please Note: Due to construction work taking place around Lincoln Center, access to the Walter Reade Theater is at 165 West 65th Street close to Amsterdam Avenue. Once there, take the escalator, elevator or stairs to the upper level.
MEDIA CONTACTS:
Jeanne R. Berney, (212) 875-5416, jberney@filmlinc.com
Ines Aslan, (212) 875-5625, iaslan@filmlinc.com
Tuesday, August 7, 2007
sidewalk cinema 07
www.sidewalkcinema.at
Eine www.wolke7.at Veranstaltung von
sidewalk CINEMA 07
Eintritt frei! Bring your own seat!
30. August bis 8. September 2007, 19 bis 22 Uhr
Schaustationen in der Kaiserstraße 32, 57, 62 & 109
Preisverleihung: Samstag, 8. September 2007, 20.30 Uhr, ADMIRAL KINO, Burggasse 119, 1070 Wien
FESTIVALPROGRAMM
30. August bis 8. September 2007 jeweils 19 bis 22 Uhr, Eintritt frei!
Subjektive Stadtsicht
Kaiserstraße 32, 1070 Wien
Guten Tag – Buon Giorno, Veronika Schubert, A 2006, 3:15 Min.
Boumont, Emre Hüner, TR 2006, 14:20 Min.
My 747, Hou Chi Jan, Taiwan 2005, 11:00 Min.
Siebeneichen, Co Gründler, CH 2005, 4:23 Min.
Fenster / drei Sätze, Martin Bruch, A 2006, 11 Min.
The sound I saw, Yin-Ling Chen, UK 2007, 5:29 Min.
Found Words – Istanbul, Mathias Kristersson, SWE 2005, 7:00 Min.
Travelling Cities, Ernest Fung, Hongkong 2006, 6:13 Min.
Utopie und Realität
Kaiserstraße 57, 1070 Wien
Fiction, Doris Schmid, A 2006, 3 Min.
Herr Bar, Clemens Kogler, A 2007, 3:10 Min.
De-Ink, Klaus Taschler, A 2007, 3:10 Min.
upurbs_downtown, Annette Sonnewend, A 2007, 1:40 Min.
Porto Heli, Anina Brisolla, D 2006, 11:35 Min.
Hongsi lüyou, Catherine Ludwig, China/D 2005, 2:22 Min.
market sentiments, Barbara Musil, A 2007, 3:40 Min.
Bitmadland, Lai-Man Tin, Hongkong 2004, 4:30 Min.
The Chronicle of a Drawing / The Footprints of Time, George Cheuk-Hin Wong,
Hongkong 2006, 9:43 Min.
Persönliche Strukturen
Kaiserstraße 62, 1070 Wien
Die Vielfalt der Beziehungssysteme, Helmut Küblböck, A 2007, 5:35 Min.
A Turkish Question, Deniz Gul, TR 2007, 6:00 Min.
Zeit-Raum-01, Andrea Seidling, A 2006, 3:40 Min.
Invasion, Vitor Cesar, A/Brasilien 2006, 5:54 Min.
Visible City, Hong-Ting Li, Hongkong 2004, 5:00 Min.
Le Grand Content, Clemens Kogler, Karo Szmit, A 2006/07, 4:20 Min.
Mind Blossom, Winnie Lai-Wan Choi, Hongkong 2007, 4:42 Min.
River, Louis Wang, Hongkong 2004, 2:00 Min.
Unsichtbare Systeme
Kaiserstraße 109, 1070 Wien
The Duellists, David Valentine/MEDIASHED, GB 2007, 7:13 Min.
Monitor, Flora Watzal, A 2005, 1:15 Min.
Brilliant City, D-Fuse, China/UK 2004, 14:47 Min.
Mini Bar, Can Altay, TR 2004, 3:30 Min.
Concert, Andreas Wegner, Peter Wächtler, D 2006, 11:49 Min.
Ampel-Manipulation, Roman Tyc, CZ 2007, 4:48 Min.
Festivalspecials
Soziale Zwischenlösungen, Samstag, 1. September 2007, 20 Uhr,
Kaiserstraße 109, 1070 Wien (im Rahmen des Hongkong-Kurzfilm-Spezial)
video and urbanity, Podiumsdiskussion, Mittwoch, 5. September 2007, 19 Uhr,
Kaiserstraße 34, 1070 Wien (im Rahmen der Reihe city system/s von WOLKE 7)
Preisverleihung sidewalkCINEMA 2007, Samstag, 8. September 2007, 20:30 Uhr,
ADMIRAL KINO, Burggasse 119, 1070 Wien. Anschließend Party mit DJ-Line
Entscheiden Sie mit beim Publikumspreis: Wählen Sie pro Station den besten Beitrag und werfen
Sie diese Karte in die dafür vorgesehene Box in den Schaustationen. supported by Kunsthalle Wien
KÖR
KUNST IM ÖFFENTLICHEN RAUM WIEN
Eine www.wolke7.at Veranstaltung von
sidewalk CINEMA 07
Eintritt frei! Bring your own seat!
30. August bis 8. September 2007, 19 bis 22 Uhr
Schaustationen in der Kaiserstraße 32, 57, 62 & 109
Preisverleihung: Samstag, 8. September 2007, 20.30 Uhr, ADMIRAL KINO, Burggasse 119, 1070 Wien
FESTIVALPROGRAMM
30. August bis 8. September 2007 jeweils 19 bis 22 Uhr, Eintritt frei!
Subjektive Stadtsicht
Kaiserstraße 32, 1070 Wien
Guten Tag – Buon Giorno, Veronika Schubert, A 2006, 3:15 Min.
Boumont, Emre Hüner, TR 2006, 14:20 Min.
My 747, Hou Chi Jan, Taiwan 2005, 11:00 Min.
Siebeneichen, Co Gründler, CH 2005, 4:23 Min.
Fenster / drei Sätze, Martin Bruch, A 2006, 11 Min.
The sound I saw, Yin-Ling Chen, UK 2007, 5:29 Min.
Found Words – Istanbul, Mathias Kristersson, SWE 2005, 7:00 Min.
Travelling Cities, Ernest Fung, Hongkong 2006, 6:13 Min.
Utopie und Realität
Kaiserstraße 57, 1070 Wien
Fiction, Doris Schmid, A 2006, 3 Min.
Herr Bar, Clemens Kogler, A 2007, 3:10 Min.
De-Ink, Klaus Taschler, A 2007, 3:10 Min.
upurbs_downtown, Annette Sonnewend, A 2007, 1:40 Min.
Porto Heli, Anina Brisolla, D 2006, 11:35 Min.
Hongsi lüyou, Catherine Ludwig, China/D 2005, 2:22 Min.
market sentiments, Barbara Musil, A 2007, 3:40 Min.
Bitmadland, Lai-Man Tin, Hongkong 2004, 4:30 Min.
The Chronicle of a Drawing / The Footprints of Time, George Cheuk-Hin Wong,
Hongkong 2006, 9:43 Min.
Persönliche Strukturen
Kaiserstraße 62, 1070 Wien
Die Vielfalt der Beziehungssysteme, Helmut Küblböck, A 2007, 5:35 Min.
A Turkish Question, Deniz Gul, TR 2007, 6:00 Min.
Zeit-Raum-01, Andrea Seidling, A 2006, 3:40 Min.
Invasion, Vitor Cesar, A/Brasilien 2006, 5:54 Min.
Visible City, Hong-Ting Li, Hongkong 2004, 5:00 Min.
Le Grand Content, Clemens Kogler, Karo Szmit, A 2006/07, 4:20 Min.
Mind Blossom, Winnie Lai-Wan Choi, Hongkong 2007, 4:42 Min.
River, Louis Wang, Hongkong 2004, 2:00 Min.
Unsichtbare Systeme
Kaiserstraße 109, 1070 Wien
The Duellists, David Valentine/MEDIASHED, GB 2007, 7:13 Min.
Monitor, Flora Watzal, A 2005, 1:15 Min.
Brilliant City, D-Fuse, China/UK 2004, 14:47 Min.
Mini Bar, Can Altay, TR 2004, 3:30 Min.
Concert, Andreas Wegner, Peter Wächtler, D 2006, 11:49 Min.
Ampel-Manipulation, Roman Tyc, CZ 2007, 4:48 Min.
Festivalspecials
Soziale Zwischenlösungen, Samstag, 1. September 2007, 20 Uhr,
Kaiserstraße 109, 1070 Wien (im Rahmen des Hongkong-Kurzfilm-Spezial)
video and urbanity, Podiumsdiskussion, Mittwoch, 5. September 2007, 19 Uhr,
Kaiserstraße 34, 1070 Wien (im Rahmen der Reihe city system/s von WOLKE 7)
Preisverleihung sidewalkCINEMA 2007, Samstag, 8. September 2007, 20:30 Uhr,
ADMIRAL KINO, Burggasse 119, 1070 Wien. Anschließend Party mit DJ-Line
Entscheiden Sie mit beim Publikumspreis: Wählen Sie pro Station den besten Beitrag und werfen
Sie diese Karte in die dafür vorgesehene Box in den Schaustationen. supported by Kunsthalle Wien
KÖR
KUNST IM ÖFFENTLICHEN RAUM WIEN
everybody is curious
10th International Istanbul Biennial
http://www.iksv.org/bienal
Not Only Possible But Also Neccesary:Optimism In The Age Of Global War
Curator: Hou Hanru
September 8 - November 4, 2007
Professional Preview: September 6 - 7, 2007
Press Conference: September 6, 2007
ist.biennial@iksv.org
Organised by the Istanbul Foundation for Culture and Arts, the 10th International Istanbul Biennial will not be a conventional thematic exhibition, rather; it will emphasise artistic production based on collective intelligence and the living process of negotiating with physical sites. The Biennial will focus on urban issues and architectural reality as a means of exposing different cultural contexts and artistic visions regarding the complex and diverse forms of modernity.More than 100 artists and artist groups from 35 different countries will exhibit more than 150 projects throughout the 10th International Istanbul Biennial.10th International Istanbul Biennial will explore the venues through titles implying the venues' role in Istanbul's political, economic and social aspects of its modernisation process."Burn It or Not?", Atatürk Cultural Centre, TaksimA leading example of the Republican Period Architecture and a symbol of the Taksim Square, the heart of Istanbul, the AKM Building serves as a major element of the city's cultural and political memory. Obviously, this modernist edifice incarnates the ideological model of Turkey's modernization driven by its republican revolutionary project. However, today it is under the threat of being gentrified by global capitalism's expansion. Through using this building as an important venue for the Biennial with an exhibition focusing on the question of utopia and its fate all around the world; questions of social progress, modernization and democracy, etc. in the current conditions of globalization will be raised and debated."World Factory", Istanbul Textile Traders' Market, UnkapaniThe Istanbul Textile Traders' Market, buit in the 60s consists of six blocks which accommodate approximately a thousand shops. This intelligently designed vernacular modernist building, explored by its users in an organic and self-organizational manner, shows an interesting and peculiar case of how local economic activities with a modern vision bring a vital element to contribute to the urban evolution. And it's a perfect site for the project "World Factory" that manifests the reality and strategies of the negotiation between developed and developing worlds in terms of different models of production, consumption and economic development in the age of globalization and geopolitical conflicts."Entre-polis" and "Dream House", Antrepo no.3, TophaneOld customs warehouses located on the Bosporus near Tophane were used for the 4th, 8th and 9th Istanbul Biennials. This particular location, function and architectural identity allow a highly complex project to grow from within: two exhibitions will be realized in two overlapping structures. An "Entre-polis", dealing with issues of global trading, migration, border crossing and their impacts on urban life will be constructed in a labyrinth-like street-square-street micro-urban structure. Above this micro-city, there will be a series of high-rise platforms opening only in the evenings. They are "Dream Houses" that welcome people to stay and discover some most unexpected elements of the Biennial, and enjoy Istanbul by night from an unusual angle.Special ProjectsNightcomersnightcomers is one of the night programme projects of the 10th International Istanbul Biennial and is based on the concept of "dazibao", used by Hou Hanru in reference to wall-mounted posters of political criticism produced by the public during the Chinese Revolution. Videos will be shown throughout the night in the streets, and the target is to reach a bigger audience than the Istanbul Biennial does in the daytime. The video programs have been selected by five local curators from the pool of videos sent by general public upon the open call of the Biennial. They will be projected in different parts of the city on certain nights of the week via a specific mobile device. This will bring the Biennial project to different sectors of the city, especially those out of cultural centres.santralistanbulsantralistanbul is a project led by Istanbul Bilgi University, involving the conversion of the first power station built in Istanbul during the Ottoman period -- Silahtaraga Power Plant -- into a Museum of Contemporary Arts, a Museum of Energy and a cultural and educational centre.santralistanbul will be the one of the sites for special projects focused on self-organisation for the 10th International Istanbul Biennial and will serve as a space of education, workshop and laboratory. Events like international workshops, residency program, a conference and a film program are going to be realized in santralistanbul in collaboration with Istanbul Bilgi University.Kadiköy Public Education Centre (KAHEM)KAHEM is situated at the heart of the Asian side of the city. Built as a popular cultural centre as a part of the republican social education and culture project in the 1930s, it is a significant Turkish modernist building undervalued for long time. Organising special projects for the Biennial not only provides a platform for urban and geopolitical emergency, it also offers an opportunity for the public to rediscover such a specific architectural and cultural edifice.
Artist List
Hamra Abbas / Adel Abdessemed / AES+F / Vahram Aghasyan / Buthayna Ali / Allora Calzadilla / Selçuk Artut / Kutlug Ataman / Fikret Atay / Jonathan Barnbrook / Ramazan Bayrakoglu / Justin Bennett / Ege Berensel - Serhat H. Yalçinkaya - Banu Ornat / Ursula Biemann / Bik Van der Pol / Cao Fei / Banu Cennetoglu / Lia Chaia / Paul Chan / Chen Hui-Chiao / Chen Chieh-Jen / Claire Fontaine / Teddy Cruz / Nancy Davenport / Burak Delier / Democracia / Atom Egoyan / Idil Elveris - Zeren Göktan / Extrastruggle / Daniel Faust / Didier Fiuza Faustino / Christoph Fink / Nina Fischer - Maroan El Sani / Vicky Funari - Sergio de la Torre / Bodil Furu - Beate Petersen / Rainer Ganahl / Jean Baptiste Ganne / Gimhongsok / Renée Green / Ivan Grubanov / Ha Za Vu Zu / Erdem Helvacioglu / Huang Yong Ping / Emre Hüner / Sanja Ivekovic / Eleni KammaKan Xuan / Ömer Ali Kazma / Ian Kiaer / Sora Kim / Taiyo Kimura / Gunilla Klinberg / Aleksander Komarov / Rem Koolhaas/AMO / Markus Krottendorfer / Lee Bul / Minouk Lim / Lu Chunsheng / Cristina Lucas / Ken Lum / MAP Office 7 Ramón Mateos / Julio Cesar Morales / Multiplicity / Els Opsomer / Ou Ning / Ferhat Özgür / Peng Hung-Chih / Anu Pennanen / Alexandre Périgot / Tadej Pogacar / Julien Prévieux / Radek Community / Michael Rakowitz / Raqs Media Collective / Jewyo Rhii / Porntaweesak Rimsakul / Lordy Rodriguez / Sam Samore / Fernando Sanchez Castillo/ Allan SekulaTaro Shinoda/ Sophia Tabatadze / David Ter-Oganyan / Nasan Tur / Katleen Vermeir - Ronny Heiremans/ Wong Hoy-Cheong / Xu Zhen / Yan Pei Ming / Yan Lei / Yang Jiechang / Tomoko Yoneda / Young Hae Chang Heavy Industries / Yushi Uehara / Berlage Institute / Zhou Hao - Ji Jianghong / Zhu Jia
Special Projects
Nightcomers (curated by Övül Durmusoglu, Marcus Graf, Borga Kantürk, Pelin Uran, Adnan Yildiz)
Apartment Project
Art Experience (Istanbul Bilgi University / Domus Academy)
Atelier bow-wow
Emergency Biennale in ChechnyaFiji
Biennale Pavilions by Mladen Bizumic
Floating Territories (Evens Foundation)
Hafriyat
Innocent Act (studioKAHEM)
Isola/OUT
Nico Dockx - Kris Delacourt (for Floating Territories)
K2
http://www.iksv.org/bienal
Not Only Possible But Also Neccesary:Optimism In The Age Of Global War
Curator: Hou Hanru
September 8 - November 4, 2007
Professional Preview: September 6 - 7, 2007
Press Conference: September 6, 2007
ist.biennial@iksv.org
Organised by the Istanbul Foundation for Culture and Arts, the 10th International Istanbul Biennial will not be a conventional thematic exhibition, rather; it will emphasise artistic production based on collective intelligence and the living process of negotiating with physical sites. The Biennial will focus on urban issues and architectural reality as a means of exposing different cultural contexts and artistic visions regarding the complex and diverse forms of modernity.More than 100 artists and artist groups from 35 different countries will exhibit more than 150 projects throughout the 10th International Istanbul Biennial.10th International Istanbul Biennial will explore the venues through titles implying the venues' role in Istanbul's political, economic and social aspects of its modernisation process."Burn It or Not?", Atatürk Cultural Centre, TaksimA leading example of the Republican Period Architecture and a symbol of the Taksim Square, the heart of Istanbul, the AKM Building serves as a major element of the city's cultural and political memory. Obviously, this modernist edifice incarnates the ideological model of Turkey's modernization driven by its republican revolutionary project. However, today it is under the threat of being gentrified by global capitalism's expansion. Through using this building as an important venue for the Biennial with an exhibition focusing on the question of utopia and its fate all around the world; questions of social progress, modernization and democracy, etc. in the current conditions of globalization will be raised and debated."World Factory", Istanbul Textile Traders' Market, UnkapaniThe Istanbul Textile Traders' Market, buit in the 60s consists of six blocks which accommodate approximately a thousand shops. This intelligently designed vernacular modernist building, explored by its users in an organic and self-organizational manner, shows an interesting and peculiar case of how local economic activities with a modern vision bring a vital element to contribute to the urban evolution. And it's a perfect site for the project "World Factory" that manifests the reality and strategies of the negotiation between developed and developing worlds in terms of different models of production, consumption and economic development in the age of globalization and geopolitical conflicts."Entre-polis" and "Dream House", Antrepo no.3, TophaneOld customs warehouses located on the Bosporus near Tophane were used for the 4th, 8th and 9th Istanbul Biennials. This particular location, function and architectural identity allow a highly complex project to grow from within: two exhibitions will be realized in two overlapping structures. An "Entre-polis", dealing with issues of global trading, migration, border crossing and their impacts on urban life will be constructed in a labyrinth-like street-square-street micro-urban structure. Above this micro-city, there will be a series of high-rise platforms opening only in the evenings. They are "Dream Houses" that welcome people to stay and discover some most unexpected elements of the Biennial, and enjoy Istanbul by night from an unusual angle.Special ProjectsNightcomersnightcomers is one of the night programme projects of the 10th International Istanbul Biennial and is based on the concept of "dazibao", used by Hou Hanru in reference to wall-mounted posters of political criticism produced by the public during the Chinese Revolution. Videos will be shown throughout the night in the streets, and the target is to reach a bigger audience than the Istanbul Biennial does in the daytime. The video programs have been selected by five local curators from the pool of videos sent by general public upon the open call of the Biennial. They will be projected in different parts of the city on certain nights of the week via a specific mobile device. This will bring the Biennial project to different sectors of the city, especially those out of cultural centres.santralistanbulsantralistanbul is a project led by Istanbul Bilgi University, involving the conversion of the first power station built in Istanbul during the Ottoman period -- Silahtaraga Power Plant -- into a Museum of Contemporary Arts, a Museum of Energy and a cultural and educational centre.santralistanbul will be the one of the sites for special projects focused on self-organisation for the 10th International Istanbul Biennial and will serve as a space of education, workshop and laboratory. Events like international workshops, residency program, a conference and a film program are going to be realized in santralistanbul in collaboration with Istanbul Bilgi University.Kadiköy Public Education Centre (KAHEM)KAHEM is situated at the heart of the Asian side of the city. Built as a popular cultural centre as a part of the republican social education and culture project in the 1930s, it is a significant Turkish modernist building undervalued for long time. Organising special projects for the Biennial not only provides a platform for urban and geopolitical emergency, it also offers an opportunity for the public to rediscover such a specific architectural and cultural edifice.
Artist List
Hamra Abbas / Adel Abdessemed / AES+F / Vahram Aghasyan / Buthayna Ali / Allora Calzadilla / Selçuk Artut / Kutlug Ataman / Fikret Atay / Jonathan Barnbrook / Ramazan Bayrakoglu / Justin Bennett / Ege Berensel - Serhat H. Yalçinkaya - Banu Ornat / Ursula Biemann / Bik Van der Pol / Cao Fei / Banu Cennetoglu / Lia Chaia / Paul Chan / Chen Hui-Chiao / Chen Chieh-Jen / Claire Fontaine / Teddy Cruz / Nancy Davenport / Burak Delier / Democracia / Atom Egoyan / Idil Elveris - Zeren Göktan / Extrastruggle / Daniel Faust / Didier Fiuza Faustino / Christoph Fink / Nina Fischer - Maroan El Sani / Vicky Funari - Sergio de la Torre / Bodil Furu - Beate Petersen / Rainer Ganahl / Jean Baptiste Ganne / Gimhongsok / Renée Green / Ivan Grubanov / Ha Za Vu Zu / Erdem Helvacioglu / Huang Yong Ping / Emre Hüner / Sanja Ivekovic / Eleni KammaKan Xuan / Ömer Ali Kazma / Ian Kiaer / Sora Kim / Taiyo Kimura / Gunilla Klinberg / Aleksander Komarov / Rem Koolhaas/AMO / Markus Krottendorfer / Lee Bul / Minouk Lim / Lu Chunsheng / Cristina Lucas / Ken Lum / MAP Office 7 Ramón Mateos / Julio Cesar Morales / Multiplicity / Els Opsomer / Ou Ning / Ferhat Özgür / Peng Hung-Chih / Anu Pennanen / Alexandre Périgot / Tadej Pogacar / Julien Prévieux / Radek Community / Michael Rakowitz / Raqs Media Collective / Jewyo Rhii / Porntaweesak Rimsakul / Lordy Rodriguez / Sam Samore / Fernando Sanchez Castillo/ Allan SekulaTaro Shinoda/ Sophia Tabatadze / David Ter-Oganyan / Nasan Tur / Katleen Vermeir - Ronny Heiremans/ Wong Hoy-Cheong / Xu Zhen / Yan Pei Ming / Yan Lei / Yang Jiechang / Tomoko Yoneda / Young Hae Chang Heavy Industries / Yushi Uehara / Berlage Institute / Zhou Hao - Ji Jianghong / Zhu Jia
Special Projects
Nightcomers (curated by Övül Durmusoglu, Marcus Graf, Borga Kantürk, Pelin Uran, Adnan Yildiz)
Apartment Project
Art Experience (Istanbul Bilgi University / Domus Academy)
Atelier bow-wow
Emergency Biennale in ChechnyaFiji
Biennale Pavilions by Mladen Bizumic
Floating Territories (Evens Foundation)
Hafriyat
Innocent Act (studioKAHEM)
Isola/OUT
Nico Dockx - Kris Delacourt (for Floating Territories)
K2
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